Tracking Shot

The camera body slides sideways, so near objects shift more than far ones, which distinguishes it from a pan.

This is for a motion graphics video. In [scene], move the camera with a "Truck" (also called a track or crab shot): the whole camera travels sideways.
Near layers should slide across faster than far ones so the scene gains depth — that is what separates it from a pan.
Run it over [duration], and ease into and out of the move so it does not start or stop abruptly.

The camera travels on a curve around a centred subject while the background rotates behind it.

This is for a motion graphics video. In [scene], move the camera with an "Orbit" (also called an arc shot): it circles around the subject while staying aimed at it.
The subject should hold the centre of the frame while the background slides one way behind it and anything in front slides the other way — in a truck or a tracking shot, every layer slides the same way.
Run it over [duration], and ease into and out of the move so it does not start or stop abruptly.

The camera is rigged to the performer so they stay fixed in frame while the background moves around them.

This is for a motion graphics video. In [scene], use a "Snorricam" (also called a body camera or body cam): the camera is strapped to the performer and faces them.
The subject should stay locked in exactly the same place in the frame while the whole background sways, tilts and swings around them with every step and turn — in a tracking shot the background just streams past evenly.
Keep it going for [duration], and let the surroundings lurch with the subject's movement so it feels dizzy and subjective.

A pan fast enough to smear into motion blur; the vertical version is a whip tilt.

This is for a motion graphics video. In [scene], move the camera with a "Whip Pan" (also called a swish pan or flick pan): it snaps sideways so fast that the picture smears.
The frame should streak into motion blur along the direction of the move and land sharp on the new view — an ordinary pan stays readable the whole way. Done vertically, it is a whip tilt.
The whole beat lasts [duration]; hold still before and after so the whip reads as one quick flick.

The lens focal length changes so every layer scales by the same ratio without any parallax; unlike a dolly, the camera does not travel.

This is for a motion graphics video. In [scene], use a "Zoom" (also called a zoom in or zoom out): the lens changes focal length while the camera stays where it is.
Everything in the frame should grow or shrink together by the same ratio, with no depth shift between near and far layers — that is what separates it from a dolly.
Run it over [duration], and ease into and out of the move so it does not start or stop abruptly.